標(biāo)題: Titlebook: Ambiguity and Film Criticism; Reasonable Doubt Hoi Lun Law Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive licen [打印本頁] 作者: 方面 時間: 2025-3-21 17:34
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作者: 致敬 時間: 2025-3-21 22:34 作者: Kernel 時間: 2025-3-22 03:14 作者: 玷污 時間: 2025-3-22 05:25
Palgrave Close Readings in Film and Televisionhttp://image.papertrans.cn/a/image/154385.jpg作者: Harass 時間: 2025-3-22 10:32
https://doi.org/10.1007/978-3-642-92460-6g the concept in and outside film criticism—by addressing the works of David Bordwell, André Bazin, and William Empson—it defends an account that sees ambiguity as more than the condition of multiple meanings. Decoupling the concept from its typical associations with “art cinema” and “modernist aest作者: acrophobia 時間: 2025-3-22 16:03 作者: 平息 時間: 2025-3-22 18:26 作者: 珠寶 時間: 2025-3-22 23:50
Allgemeine Grundlagen der Elektromotoren,cholas Ray, 1950). Suggesting both tenderness and violence, the gestures of the film’s main character Dix (Humphrey Bogart) mark his self-opacity, encouraging the viewer to inquire deeper into his thoughts and feelings. This investigation into a character’s “deeper reason” offers a way to rethink th作者: Amylase 時間: 2025-3-23 04:22
https://doi.org/10.1007/978-3-662-36961-6scene. On the other hand, it attends to how these scenes—taken together, and seen in succession—feel puzzling as a conclusion of what precedes it. Specifically, there is a sense that the movie, defying what has been established and therefore against our expectations, drastically changes its moral po作者: Ceremony 時間: 2025-3-23 05:56
,Die Elektronenr?hre als Galvanometer,aging with a performer’s seemingly inadvertent direct look at the camera in . (Fritz Lang, 1956), it details my own experience of this kind of scepticism, reflecting upon my “internal drama of doubt”. But my ability to offer a somewhat convincing reading of the detail, to unpack its suggestions, doe作者: 使出神 時間: 2025-3-23 10:04 作者: 友好關(guān)系 時間: 2025-3-23 15:47
Ambiguity and Film Criticism978-3-030-62945-8Series ISSN 2634-6133 Series E-ISSN 2634-6141 作者: 盟軍 時間: 2025-3-23 18:49
Introduction: Why Is It as It Is?,g the concept in and outside film criticism—by addressing the works of David Bordwell, André Bazin, and William Empson—it defends an account that sees ambiguity as more than the condition of multiple meanings. Decoupling the concept from its typical associations with “art cinema” and “modernist aest作者: 體貼 時間: 2025-3-24 00:06 作者: 光滑 時間: 2025-3-24 04:45
Perplexity of Stylequestions: why does the film devise and deploy a programmatic editing scheme that alternate between two fixed camera set-ups? Why does it depart from this scheme in a seemingly “unrevealing” moment of the narrative? Our critical challenge here stems from the entangled nature of the two enquiries, fr作者: 鉆孔 時間: 2025-3-24 07:43 作者: 你正派 時間: 2025-3-24 12:14 作者: 解決 時間: 2025-3-24 16:35 作者: 自負(fù)的人 時間: 2025-3-24 21:44 作者: 建筑師 時間: 2025-3-25 00:25 作者: Mumble 時間: 2025-3-25 06:30 作者: DUCE 時間: 2025-3-25 11:17
Der Schaltvorgang beim Elektromagneten,o rethink matters of stylistic complexity and coherence. Moreover, the chapter explores the links between ambiguity and speculation, and defends the place of productive speculative practices in film criticism.作者: 正論 時間: 2025-3-25 14:33
2634-6133 nalysis such as “overreading”, the possibility of critical s.This book defends an account of ambiguity which illuminates the aesthetic possibilities of film and the nature of film criticism. Ambiguity typically describes the condition of multiple meanings. But we can find multiple meanings in what a作者: Demulcent 時間: 2025-3-25 17:55
,Die Elektronenr?hre als Galvanometer,ism, reflecting upon my “internal drama of doubt”. But my ability to offer a somewhat convincing reading of the detail, to unpack its suggestions, doesn’t stop me from worrying about its possibility of insignificance. My worry is a worry of “overreading”—a familiar threat in the analysis of ambiguity.作者: 刺穿 時間: 2025-3-25 23:27
,Die Elektronenr?hre und ihre Schaltung, as—according to the conventional view—dividing them. It invites us to see film criticism as an ongoing communal effort to appreciate movies, rather than a means to secure critical consensus. This metacritical implication of the concept is what makes it worthy of further investigation in the study of film and film analysis.作者: Myocyte 時間: 2025-3-26 01:12 作者: 清澈 時間: 2025-3-26 04:34 作者: amorphous 時間: 2025-3-26 09:38
https://doi.org/10.1007/978-3-662-36961-6 of perspective consequently leaves us uncertain about what an appropriate analytical standpoint should be. .’s ambiguous creative choices will be illuminated by a brief comparison with its recent Hollywood remark . (Nat Faxon & Jim Rash, 2020).作者: 說不出 時間: 2025-3-26 12:57
Uncertainty of Viewpoint of perspective consequently leaves us uncertain about what an appropriate analytical standpoint should be. .’s ambiguous creative choices will be illuminated by a brief comparison with its recent Hollywood remark . (Nat Faxon & Jim Rash, 2020).作者: 軟膏 時間: 2025-3-26 17:03 作者: myalgia 時間: 2025-3-27 01:00 作者: 支形吊燈 時間: 2025-3-27 02:18 作者: Acumen 時間: 2025-3-27 08:48
https://doi.org/10.1007/978-3-642-92460-6hetics”, this chapter considers ambiguity as what invites, often persistently, the inquiry into “why is it as it is?”. And a satisfying response to this inquiry requires us to acknowledge our critical doubt and pursue what can be called the “aesthetic reasons” behind creative choices.作者: intimate 時間: 2025-3-27 10:09
,Die Kr?fte im magnetischen Feld,ng account of ambiguity. Ambiguity is a challenge to criticism, as the puzzling scene in . suggests, not only because it is difficult to “answer” but because our “answering” also calls for the identification of the appropriate “why” questions. The criticism of ambiguity activates an analytical dynamics of question-and-answer.作者: Entrancing 時間: 2025-3-27 16:33
Allgemeine Grundlagen der Elektromotoren,e conventional opposition between “surface” and “deep” meanings in criticism. Moreover, while ambiguity is conventionally associated with the multiplicity of meaning, the chapter argues for the benefits of also seeing the concept as the depth of suggestion, especially in the context of analysing film characters.作者: 提升 時間: 2025-3-27 18:41
Book 2021sment of what is ambiguous involves both our reason and doubt; that is, reason and doubt can work together in our practice of reading. This book, then, considers ambiguity as a form of reasonable doubt, one that invites us to reflect on our critical efforts, rethinking the operation of film criticism.? ?.? ? ?.作者: DEVIL 時間: 2025-3-27 23:32
Book 2021 describes the condition of multiple meanings. But we can find multiple meanings in what appears unambiguous to us. So, what makes ambiguity ambiguous? This study argues that a sense of uncertainty is vital to the concept. Ambiguity is what presses us to inquire into our puzzlement over a movie, to 作者: 高談闊論 時間: 2025-3-28 02:37 作者: 新星 時間: 2025-3-28 07:41
